Classifications

• • G—PHYSICS
  • G11—INFORMATION STORAGE
  • G11B—INFORMATION STORAGE BASED ON RELATIVE MOVEMENT BETWEEN RECORD CARRIER AND TRANSDUCER
  • G11B27/00—Editing; Indexing; Addressing; Timing or synchronising; Monitoring; Measuring tape travel
  • G11B27/10—Indexing; Addressing; Timing or synchronising; Measuring tape travel
  • G11B27/19—Indexing; Addressing; Timing or synchronising; Measuring tape travel by using information detectable on the record carrier
  • G11B27/28—Indexing; Addressing; Timing or synchronising; Measuring tape travel by using information detectable on the record carrier by using information signals recorded by the same method as the main recording
• • G—PHYSICS
  • G11—INFORMATION STORAGE
  • G11B—INFORMATION STORAGE BASED ON RELATIVE MOVEMENT BETWEEN RECORD CARRIER AND TRANSDUCER
  • G11B2220/00—Record carriers by type
  • G11B2220/20—Disc-shaped record carriers
  • G11B2220/25—Disc-shaped record carriers characterised in that the disc is based on a specific recording technology
  • G11B2220/2508—Magnetic discs
  • G11B2220/2516—Hard disks
• • G—PHYSICS
  • G11—INFORMATION STORAGE
  • G11B—INFORMATION STORAGE BASED ON RELATIVE MOVEMENT BETWEEN RECORD CARRIER AND TRANSDUCER
  • G11B2220/00—Record carriers by type
  • G11B2220/40—Combinations of multiple record carriers
  • G11B2220/41—Flat as opposed to hierarchical combination, e.g. library of tapes or discs, CD changer, or groups of record carriers that together store one title
  • G11B2220/415—Redundant array of inexpensive disks [RAID] systems
• • H—ELECTRICITY
  • H04—ELECTRIC COMMUNICATION TECHNIQUE
  • H04S—STEREOPHONIC SYSTEMS 
  • H04S2420/00—Techniques used stereophonic systems covered by H04S but not provided for in its groups
  • H04S2420/13—Application of wave-field synthesis in stereophonic audio systems

Definitions

• the present invention relates to the field of wave field synthesis, and more particularly to driving a wave field synthesis rendering device with data to be processed.
• the present invention relates to wave field synthesis concepts, and more particularly to efficient wave field synthesis concept in conjunction with a multi-renderer system.
• Applied to the acoustics can be simulated by a large number of speakers, which are arranged side by side (a so-called speaker array), any shape of an incoming wavefront.
• the audio signals must each speaker will be supplied with a time delay and amplitude scaling so, the radiating sound fields of the individual loudspeakers that overlay correctly.
• the contribution is calculated separately be ⁇ to each speaker and adds the resulting signals for each ⁇ de source.
• the cost of the calculation therefore depends heavily on the number of sound sources, the reflection characteristics of the recording room and the number of speakers.
• the advantage of this technique is in particular that a natural spatial sound impression over a large area of the playback room is possible.
• the direction and distance of sound sources are reproduced very accurately.
• virtual sound sources can even be positioned between the real speaker array and the listener.
• wavefield synthesis works well for environments whose characteristics are known, irregularities occur when the nature changes, or when wave field synthesis is performed on the basis of an environmental condition that does not match the actual nature of the environment.
• An environmental condition can be described by the impulse response of the environment.
• the wave field synthesis thus allows a correct mapping of virtual sound sources over a large playback area. At the same time it offers the sound engineer and sound engineer new technical and creative potential in the creation of even complex soundscapes.
• Field field synthesis (WFS or sound field synthesis), as developed at the TU Delft in the late 1980s, represents a holographic approach to sound reproduction. The basis for this is the Kirchhoff-Helmholtz integral. This means that any sound fields within a closed volume can be generated by means of a distribution of monopole and dipole sound sources (loudspeaker arrays) on the surface of this volume.
• an audio signal that emits a virtual source at a virtual position is used to calculate a synthesis signal for each loudspeaker of the loudspeaker array, the synthesis signals being designed in amplitude and phase in such a way that a wave resulting from the superimposition of the loudspeaker array individual sound wave output by the speakers existing in the loudspeaker array, corresponding to the wave that would have originated from the virtual source at the virtual position, if this virtual source at the virtual position was a real source with a real position.
• multiple virtual sources exist at different virtual locations.
• the computation of the synthesis signals is performed for each virtual source at each virtual location, typically resulting in one virtual source in multiple speaker synthesis signals. Seen from a loudspeaker, this loudspeaker thus receives several synthesis signals, which go back to different virtual sources. A superimposition of these sources, which is possible due to the linear superposition principle, then gives the reproduced signal actually emitted by the speaker.
• the quality of the audio playback increases with the number of speakers provided. This means that the audio playback quality becomes better and more realistic as more loudspeakers are present in the loudspeaker array (s).
• the finished and analog-to-digital converted display signals for the individual loudspeakers could, for example, be transmitted via two-wire lines from the wave field synthesis central unit to the individual loudspeakers.
• the wave field synthesis central unit could always be made only for a special reproduction room or for a reproduction with a fixed number of loudspeakers.
• German Patent DE 10254404 B4 discloses a system as shown in FIG.
• One part is the central wave field synthesis module 10.
• the other part is composed individual speaker modules 12a, 12b, 12c, 12d, 12e, which are connected to actual physical speakers 14a, 14b, 14c, 14d, 14e as shown in Fig. 1.
• the number of speakers 14a-14e is in the range above 50 and typically well above 100. If each loudspeaker is assigned its own loudspeaker module, the corresponding number of loudspeaker modules is also required. Depending on the application, however, it is preferred to address a small group of adjacent loudspeakers from a loudspeaker module.
• a speaker module which is connected to four speakers, for example, feeds the four speakers with the same playback signal, or whether the four speakers corresponding different synthesis signals are calculated, so that such a speaker module actually off consists of several individual speaker modules, but which are physically combined in one unit.
• each transmission path being coupled to the central wave field synthesis module and to a separate loudspeaker module.
• a serial transmission format is preferred which provides a high data rate, such as a so-called Fire ⁇ wire transmission format or a USB data format. Data transmission rates of over 100 megabits per second are advantageous.
• the data stream which is transmitted from the wave field synthesis module 10 to a loudspeaker module, is accordingly formatted according to the selected data format in the wave field synthesis module and is synchronized with a synchronization unit. provided in common serial data formats.
• This synchronization information is extracted from the individual loudspeaker modules from the data stream and used to represent the individual loudspeaker modules with regard to their reproduction, that is to say finally to the analog-to-digital conversion for obtaining the analog loudspeaker signal and the sampling provided for this purpose. sampling).
• the central wavefield synthesis module operates as a master, and all loudspeaker modules operate as clients, with the individual datastreams receiving the same synchronization information from the central module 10 over the various links 16a-16e.
• the known wave field synthesis concept uses a scene description in which the individual audio objects are defined together such that, using the data in the scene description and the audio data for the individual virtual sources, the complete scene is rendered by a renderer 'can be prepared arrangement.
• a renderer 'can be prepared arrangement For each audio object, it is exactly defined where the audio object has to start and where the audio object ends.
• the position of the virtual source is indicated, at which the virtual source should be, that is to be entered into the wave field synthesis rendering device, so that the corre sponding ⁇ synthesis signals are generated for each speaker.
• each renderer has limited computing power.
• a renderer is capable of processing 32 audio sources simultaneously.
• a transmission path from the audio server to the renderer has a limited transmission bandwidth, so provides a maximum transmission rate in bits per second.
• a typical renderer can handle only a certain maximum number of virtual sources at one time. This number can be for example 32.
• the maximum processing capacity of a renderer is not the only bottleneck of a system. So a renderer must, if he z. For example, if you want to process 32 virtual sources at the same time, they will also be supplied with the corresponding audio files for the 32 virtual sources at the same time.
• a renderer has an input buffer that somewhat equalizes the data transfer requirements, but especially if the renderer processes many sources at the same time, so if a lot of data is taken from the buffer, it also needs to be filled quickly.
• the renderer will to a certain extent have data for processing.
• the renderer could compensate for such a situation by simply repeating the last data until new data arrives.
• this is expensive in data management and can lead to audible artifacts.
• These artifacts will be worse if the virtual source is a source of deterministic information such as speech, music, etc.
• the object of the present invention is to provide a concept for storing audio files, which enables a higher qualitative and easier to implement wave field synthesis.
• the present invention is based on the recognition that an efficient data organization is crucial, that a renderer, even if it is working at its utilization limit, is supplied with sufficient data.
• the data supplied to the renderer is read from a storage device, such as a hard disk of a PC or workstation.
• an efficient storage of the audio files is made to a certain extent in preparation for a wave field synthesis reproduction, wherein a scene-spanning memory optimization is applied.
• the scene descriptions are examined to find out a first scene that requires a higher processing capacity of the wave field synthesis system than another second scene.
• the writing device of the storage device is controlled so as to write the audio files identified by the scene description of the first scene to the storage device so that a reading device of the storage device can read the audio files for the first scene faster than if the audio files for the first scene are randomly stored on the storage device.
• the audio files for the scene are heavily utilized by the wave field synthesis system , optimally written, which of course means that the audio files for other scenes are not optimally written.
• this is unproblematic in that in other scenes, a storage device can have more access time, since the data transfer rate required for the other scene is not so high anyway, since fewer virtual sources have to be processed in parallel.
• storage of the audio files on the storage device is made so that the memory access for the scene that brings the highest utilization of the wave field synthesis system, optimally while many jumps are accepted for other scenes accessing the same audio file.
• a storage device having a plurality of parallel usable single storage media such as a RAID array
• FIG. 1 shows a block diagram of the inventive concept for storing audio files
• FIG. 1b shows an exemplary audio piece with scenes of different wave field synthesis system utilization
• Fig. Ic shows a first example of optimized cross-scene storage
• Fig. Id shows a second example of optimized cross-scene storage
• FIG. 2 shows an exemplary audio object
• Fig. 6 is a schematic representation of a known wave field synthesis concept
• FIG. 7 shows a further illustration of a known wave field synthesis concept.
• the audio piece is to be processed by a renderer of a wave field synthesis system 3.
• the audio piece comprises a plurality of scenes, a separate scene description being provided for each scene, and a scene having a chronological sequence of audio objects of the scene.
• an audio object includes information about a virtual source and an identification for an audio file associated with the audio object.
• a device 4 for examining the scene descriptions and for determining a first scene which requires a higher processing capacity of the wave field synthesis system than a second scene.
• the device 4 can be supplied, if appropriate, with information about the wave field synthesis system 3 and, in particular, about the current utilization of the renderer in the wave field synthesis system.
• the device 4 controls a control device 5.
• the control device 5 is designed to control the read-write head 2 in such a way that audio files identified by the scene description of the first scene, ie audio files for the scene with higher utilization, thus be written to the storage device 1 that the reading device 2 can read the audio files for the first scene faster than if the audio files for the first scene had been randomly stored on the storage device.
• the audio files are preferably from a further storage device 6, which may be a CD or DVD and are either written directly to the storage device via the controller or are controlled by the controller directly from the additional memory 6 to the read / write head 2 of FIG Storage device 1 of course in the correct order, as it has been determined by the control device 5, supplied.
• the control device 5 is particularly designed to the storage device 1, the z. As a hard disk is to be described so that in any case no fractionation occurs, so that all audio files are written continuously. Furthermore, the control device is designed to write audio files at specific locations in the hard disk. So saving, ie the actual writing of the physical hard disk, is no longer left to the hard disk control alone or to chance, as in conventional hard disks. Instead, the control device 5 is designed to control the read / write head 2 of the storage device 1 in such a way that audio files are stored in exactly the same order and arrangement on the storage device.
• the audio files are stored optimally across all scenes. For this purpose, it is examined which audio files are needed at all, when a scene is played with high utilization in order to precisely save just these audio files optimized.
• a wave field synthesis system 3 comprises as a central element one or more renderer modules.
• the renderers are typically driven by a scheduler, which is preferably designed to generate the data streams for the renderers using possibly provided audio object manipulations.
• the scheduler is thus responsible for quickly reading out the data from the memory device 1 and supplying it to the downstream renderer, which then generates synthesis signals from the audio files which are supplied to the individual loudspeakers in the loudspeaker array.
• Fig. Ib shows an exemplary audio track with a ten ers ⁇ scene and a second scene, wherein in the first scene parallel four sources and four audio files ADI, AD2, AD3, AD4 have to be prepared, while in the second scene at most three edited audio files in parallel ⁇ the need, namely AD6, AD7 and ADI.
• FIG. 1c is designed for a plurality of parallel plates.
• the audio files of the first scene are optimally stored, resulting in that the audio files AD1, AD2 are stored on the disc 1 and the audio files AD3, AD4 on the disc 2.
• This storage is as it is Ic can be seen, for the second scene disadvantageous because there ADl and AD7 are needed simultaneously, since these two audio files are processed in parallel. Nevertheless, both files are chert 1 vomit ⁇ on the same plate, and further separated from each other even by the audio file AD2.
• the hard disk will have to make a few jumps and, furthermore, can not benefit from the parallel arrangement of the disk 1 and the disk 2.
• this is also uncritical since the data request in the second scene is anyway lower than in the first scene, since in the second scene the utilization of the wave field synthesis system is lower than in the first scene.
• Fig. Id shows an arrangement of the audio files on a track 7 on a storage medium, such as a hard disk.
• FIG. 1 d shows a serial arrangement.
• the audio files of the first scene are stored one after the other so that a reading head does not have to jump to read in the audio files of the first scene. This leads to a very fast data provision of the audio files AD1 to AD4.
• the fact is taken into account that the data organization is crucial for efficient data output.
• the necessary transfer rate for feeding a renderer can not be guaranteed by media from CD or DVD in many embodiments. Therefore, a disk-based management is necessary.
• an optimization of the memory layout is made for complex scenes in order to guarantee compliance with the time requirements.
• an efficient delivery of the audio and metadata on the one hand and efficient data organization on the other hand are achieved.
• the metadata can be used to define the playback order of the audio data in accordance with the object-oriented scene description. If the play order is known, the access to the audio data during playback can be optimized.
• the computer no longer has to "gather" the audio data at any point on the hard disk or other storage media, but is able to read the audio data one after the other without the need for large readings in the memory Read access to the audio data makes it possible to use the resources more efficiently and thus process more audio objects simultaneously in real time.
• a central database In data organization, it is preferred to use a central database.
• the central organization ensures the consistency of the audio and metadata.
• the use of a database greatly facilitates the production of wave field synthesis scenes.
• the versioning of audio and metadata can be realized with the help of the database. This allows the user to gain access to older versions of his scene description, which also facilitates the production process.
• the storage device does not necessarily have to be a central database but can be executed as a normal file server.
• an audio database which is particularly advantageous if true audio material is used by different different scenes. So the audio database knows all the scenes and knows which scenes use which audio material when. Further, the audio database has access to the audio data and can determine the storage order of the audio data on the hard disk. In addition, the audio database can create an optimal cross-scene storage order for the audio data. Finally, the audio data ⁇ bank can also discover bottlenecks and react accordingly when storing the audio data.
• this may alternatively also be reali ⁇ Siert that it stores all files in a scene centra ⁇ len place and a program implemented, reads the all scene files and derives the storage order of the audio files on the server.
• a database forces central storage of the scene files, which is preferred for optimizing the order of storage of the audio files.
• a temporal and spatial An ⁇ According to the invention of magnitude of audio sources and a consequent optimization ⁇ tion made on the storage medium of the storage order of the audio data.
• a cross-scene optimization of the data is used, which preferably ⁇ draws on a central storage and management of scenes.
• an audio object which effectively represents the audio content of a virtual source is ⁇ .
• the audio object does not need to include the audio file, but may have an index pointing to a defined location in a database where the actual audio file is stored.
• Preferably further comprises an audio object a identifi ⁇ cation of the virtual source, for example, a source ID or a meaningful file name, etc. can be.
• the audio object specifies a period of time for the beginning and / or the end of the virtual source, that is, the audio file.
• Specifying only a time period for the start means that the actual starting point of the rendering of this file by the renderer can be changed within the time span.
• a time limit is specified for the end, this also means that the end can also be varied within the time span, which, depending on the implementation, will generally lead to a variation of the audio file also in terms of its length.
• Any implementations are possible, such as: For example, a definition of the start / end time of an audio file so that although the starting point may be moved, but in no case the length may be changed, so that automatically the end of the audio file is also moved.
• it is preferred to also keep the end variable since it is typically not problematic whether z. For example, a wind noise starts sooner or later, or ends slightly earlier or later.
• Further specifications are possible or desired depending on the implementation, such as a specification, that although the starting point may be varied, but not the end point, etc.
• an audio object further comprises a location span for the position. So it will be irrelevant for certain audio objects, whether they z. B. come from the front left or before ⁇ ne center, or whether they are shifted by a (small) angle with respect to a reference point in the playback room.
• audio objects especially from the noise area, which can be positioned at any position and thus have a maximum local span, which can be identified, for example, by a code for "random" or by no code. code can be (implicitly) specified in the audio object.
• An audio object may include other information, such as an indication of the nature of the virtual
• FIG. 3 shows, by way of example, a schematic representation of a scene description, in which the time sequence of different audio objects AO1,... AOn + 1 is shown.
• attention is drawn to the audio object AO3, for which a period of time, as shown in FIG. 3, is defined.
• a period of time as shown in FIG. 3
• both the start point and the end point of the audio object AO3 in Fig. 3 can be shifted by the time period.
• the definition of the audio object A03 is that the length must not be changed, but this can be set variably from audio object to audio object.
• a scene description is used that has relative indications.
• the flexibility is increased by the fact that the beginning of the audio object AO2 is no longer given in an absolute time, but in a relative period of time to the audio object AO1.
• a relative description of the location information is preferred, so not that an audio object is to be arranged at a certain position xy in the playback room, but z.
• B. is a vector offset to another audio object or to a reference object.
• the time span information or location span information can be recorded very efficiently, namely simply in that the time span is set such that it expresses that the audio object A03 z. B. in a period between two minutes and two minutes and 20 seconds after the start of the audio object AOl can begin.
• the spatial / temporal output objects of each scene are modeled relative to one another.
• the audio object manipulation device achieves a transfer of these relative and variable definitions into an absolute spatial and temporal order.
• This order represents the output schedule obtained at the output 6a of the system shown in FIG. 1 and defines how the renderer module in particular is addressed in the wave field synthesis system.
• the schedule is thus an output schedule that arranges the audio data according to the output conditions.
• FIG. 4 shows a data stream which is transmitted from left to right according to FIG. 4, that is to say from the audio object manipulation device 3 of FIG. 1 to one or more wave field synthesis renderers of the wave field system 0 of FIG the data stream for each audio object in the embodiment shown in Fig. 4, first a header H, in which the position information and the time information are, and downstream of an audio file for the specific audio object, in Fig. 4 with AOl for the first audio object, A02 for the second audio object, etc. is designated.
• a wave field synthesis renderer then receives the data stream and detects z. B. to an existing and agreed synchronization information that now comes a header. Based on another synchronization information, the renderer then recognizes that the header is now over. Alternatively, a fixed length in bits can be agreed for each Haeder.
• the audio renderer After receiving the header, in the preferred embodiment of the present invention shown in FIG. 4, the audio renderer automatically knows that the subsequent audio file, ie, e.g. AOl belongs to the audio object, that is, to the source location identified in the header.
• FIG. 4 shows a serial data transmission to a field-synthesis synthesizer.
• the renderer requires an input buffer preceded by a data stream reader to parse the data stream.
• the data stream reader will then interpret the header and store the associated audio data so that when an audio object is to render, the renderer reads out the correct audio file and location from the input buffer.
• Other data for the data stream are of course possible.
• a separate transmission of both the time / location information and the actual audio data may be used.
• the present invention is thus based on an object-oriented approach, that is to say that the individual virtual sources are understood as objects which are distinguished by an audio file and a virtual position in space and possibly by the manner of the source, ie whether they are a point source for sound waves or a source for plane waves or a source for differently shaped sources.
• the calculation of the wave fields is very compute-time intensive and tied to the capacities of the hardware used, such as sound cards and computers, in combination with the efficiency of the calculation algorithms. Even the best equipped PC-based solution thus quickly reaches its limits in the calculation of wave field synthesis when many sophisticated sound events are to be displayed simultaneously.
• the capacity limit of the software and hardware used dictates the limitation on the number of virtual sources in the mixdown and playback.
• FIG. 6 shows such a limited in its known wavefield synthesis concept including an authoring tool 60, a control renderer module 62, and an audio server 64, wherein the control renderer module is configured to be a speaker array 66 to supply data so that the speaker array 66 generates a desired wavefront 68 by superimposing the individual waves of the individual speakers 70.
• the authoring tool 60 allows the user to create scenes, edit and control the wave field synthesis based system.
• a scene consists of information about the individual virtual audio sources as well as the audio data.
• the properties of the audio sources and the references to the audio data are stored in an XML scene file.
• the audio data itself is stored on the audio server 64 and transmitted from there to the renderer module.
• the renderer module receives the control data from the authoring tool so that the control renderer module 62, which is centrally executed, can generate the synthesis signals for the individual loudspeakers.
• the concept shown in Figure 6 is described in "Authoring System for Wave Field Synthesis", F. Melchior, T. Röder, S. Brix, S. Wabnik and C. Riegel, AES Convention Paper, 115th AES Assembly, 10. October 2003, New York. If this wave field synthesis system is operated with multiple renderer modules, each renderer is supplied with the same audio data, regardless of whether the renderer needs this data for playback or not because of the limited number of speakers assigned to it. Since each of the current computers is capable of calculating 32 audio sources, this is the limit for the system. On the other hand, the number of sources that can be changed in the overall system should be increased significantly and efficiently. This is one of the essential requirements for complex applications, such as movies, scenes with immersive atmospheres, such as rain or applause or other complex audio scenes.
• a reduction of redundant data transfer operations and data processing operations in a wave field synthesis multi-renderer system is achieved, which leads to an increase in the computing capacity or the number of simultaneously computable audio sources.
• the audio server is extended by the data output device, which is able to determine which renderer needs which audio and metadata.
• the data output device possibly supported by the data manager, requires a plurality of information in a preferred embodiment. This information is first the audio data, then the source and position data of the sources, and finally the configuration of the renderers, ie information about the connected loudspeakers and their positions and their capacity.
• an output schedule is generated by the data output device with a temporal and spatial arrangement of the audio objects. From the spatial arrangement, the time schedule and the renderer configuration, the data management module then calculates which source for which renderers are relevant at any given time.
• the database 22 is supplemented on the output side by the data output device 24, wherein the data output device is also referred to as a scheduler.
• This scheduler then generates at its outputs 20a, 20b, 20c for the various renderers 50 the renderer input signals in order to power the corresponding loudspeakers of the loudspeaker arrays.
• the scheduler 24 is preferably also supported by a storage manager 52 in order to configure the database 42 by means of a RAID system and corresponding data organization specifications.
• a data generator 54 On the input side is a data generator 54, which may be, for example, a sound engineer or an audio engineer who is to model or describe an audio scene in an object-oriented manner. In this case, he provides a scene description that includes corresponding output conditions 56, which are then optionally stored in the database 22 together with audio data after a transformation 58.
• the audio data may be manipulated and updated using an insert / update tool 59.
• the method according to the invention can be implemented in hardware or in software.
• the implementation may be on a digital storage medium, particularly a floppy disk or CD, with electronically readable control signals that may interact with a programmable computer system to perform the method.
• the invention thus also exists in a computer program product with a program code stored on a machine-readable carrier for carrying out the method when the computer program product runs on a computer.
• the invention can be realized as a computer program with a program code for carrying out the method when the computer program runs on a computer.

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• Stereophonic System (AREA)
• Information Retrieval, Db Structures And Fs Structures Therefor (AREA)
• Management Or Editing Of Information On Record Carriers (AREA)
• Indexing, Searching, Synchronizing, And The Amount Of Synchronization Travel Of Record Carriers (AREA)
• Electrically Operated Instructional Devices (AREA)
• Input Circuits Of Receivers And Coupling Of Receivers And Audio Equipment (AREA)
• Obtaining Desirable Characteristics In Audible-Bandwidth Transducers (AREA)
• Signal Processing For Digital Recording And Reproducing (AREA)

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